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> В ожидании варваров / Waiting for the Barbarians, Полковник Джолл
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сообщение 3.05.2019 - 16:22
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Гадкий чертов маленький сволочной горец
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Опубликован первый кадр из экранизации романа Д.Кутзее «В ожидании варваров», в котором Джонни Депп исполнил роль полковника Джолла, Марк Райлэнс — Магистрата, а Роберт Паттинсон — офицера Уорента. В данный момент фильм находится на постпродакшн и будет представлен на кинорынке в Каннах.




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- Я считаю, что каждый дает себе право думать то, что хочет, пока он не окажется в жестоком заблуждении. (Джонни Депп)
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сообщение 7.09.2019 - 11:00
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Гадкий чертов маленький сволочной горец
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Создатели о фильме и героях: https://variety.com/2019/film/news/venice-j...ans-1203325907/

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In Colombian director Ciro Guerra’s drama about immigration and integration ”Waiting for the Barbarians” Johnny Depp plays the ruthless Colonel Joll, a torturer who is in charge of the security situation on the border and who clashes with a morally upright magistrate.

In Venice, where the film premiered on Friday in competition, Depp said Guerra gave him the perfect prop for this role. A special pair of mean metal shades.

”When Ciro came up with that shape…They were threatening; they were menacing somehow,” Depp said. And ”the fact that he didn’t take them off,” added to the threat.

”He wore them to make the magistrate as uncomfortable as possible,” Depp added.

”I think he’s learned a number of tricks over the years. He realized that stillness and silence and quiet, and holding your response to a question, is quite disturbing to the person on the other side,” Depp went on to point out.

Mark Rylance, who plays the magistrate, said that what helped him get into his role was the realization ”that we are part of a barbaric culture,” by living in England ”due to the imperialism of the English nation.”

The actions that South African novelist J. M. Coetzee, whose novel by the same title the film is based on, ”describe steps that the magistrate is going through that are very understandable,” he said. At first he tries to ignore the torture and ”then it arrives at your door in the form of a poor young girl whose been crippled and blinded, and you bring that person into your heart, and you try and rescue them,” he noted.

The problem, Rylance went on, is that the magistrate’s attempt to rescue the young woman ”is also just a form of power.”

It’s ”just a form of affirming that I’m the powerful one, and you’re the victim,” he underlined.

”The characters that Johnny and I play are really two sides of the same coin,” said Rylance.

”The torturer and the rescuer are both still in danger of victimizing the people that they are torturing or rescuing. That is the remarkable thing about this story for me.”

Guerra, the director, pointed out that when he first read the novel, which he adapted together with Coetzee, he found it to be ”a powerful allegory.”

”It was very connected…to things done in the past,” Guerra said. But then ”during the process of making the film it became less and less an allegory and more and more connected to the present.”


Первая рецензия:
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The Colombian director Ciro Guerra (Embrace of the Serpent) seems interested in the processes by which the west colonised the rest, so it’s fitting that he has cast two big Hollywood stars – Johnny Depp and Robert Pattinson – in his latest, premiering ominously on the second to last day of the Venice film festival, when roughly a third of the press corps have decamped to Toronto.

An adaptation of JM Coetzee’s 1980 novel, Waiting for the Barbarians tells the story of a magistrate presiding over an unidentified colonial outpost in the middle of the desert, presumably in the first decades of the last century. Gentle-voiced and crinkly eyed and played by Mark Rylance, he sees his comfortable equanimity shattered by the arrival of state security officers. They’re led by Depp, who looks more like a skull wrapped in butcher’s paper every day. Evocatively photographed by Chris Menges in Morocco as well as Italy, Guerra’s stately, frequently horrific fifth feature recalls both Kafka’s In the Penal Colony and Graham Greene, with Rylance as a sad sack powerless to stop the ruthlessly mechanical infliction of pain.

Chapter headings that cycle through the seasons signpost the unravelling that occurs after Depp’s Colonel Joll arrives for an inspection and begins torturing the locals. A nomad accused of stealing a sheep has his eye gouged out, but not before ”admitting” that his people are readying for a full-blown frontier war. That news, as well as the magistrate’s discomfort with the colonel’s methods, is reported up the chain, leading to further intervention from the navy-suited state police. It’s easy to read the film as a not particularly subtle metaphor for fascism or ”the war on terror”, and its black hats aren’t so much characters as automatons.

Hair slicked back and parted down the middle, Depp sports a natty pair of circular sunglasses that obscure the colonel’s eyes and emotions, if indeed he has any. Working again with the kind of indie auteur he gravitated towards before his 15-year run as a blockbuster star, the actor makes a meal of some of his lines here, but he seems positively relaxed next to Pattinson, playing a variation on the diabolical theme.

Pattinson is a puzzle. Such a revelation in Good Time, and charismatically enigmatic in The Lost City of Z, he just as often looks uncomfortable. His performance here is somehow both stiff and overarticulated. At least he gets one of the film’s best lines, when he thanks the residents of the fort he’s terrorised for their hospitality, then scarpers.

Embrace of the Serpent review – a Kurtzian vision of the Amazon
4 out of 5 stars.
Read more
Greta Scacchi has a thankless role as a cook running Rylance’s household, but the magistrate’s key relationship is with an Indigenous woman (Gana Bayarsaikhan) crippled by Depp’s toadies. His deepening affection for her leads him into the desert to return the girl to her people, and some of the widescreen compositions in this section – of stucco parapets silhouetted against a darkening blue sky, of riders ringed by bands of sun-gold at dusk – have a startling beauty. But the grandeur of the wide open spaces is short lived, and on the magistrate’s return he’s thrown into a cell for treating with the enemy.

His rejection by the woman he loves but failed to protect presages a more pointed reckoning, and the magistrate is left, in the end, holding the bag. Guerra has tweaked the novel’s Beckettian coda, and the film’s final shot provides a full stop that is, in 2019, appropriately apocalyptic. The barbarians are us, and the wait is over.

https://www.theguardian.com/film/2019/sep/0...rra-johnny-depp

Рецензия Егора Москвитина: http://kinochannel.ru/digest/v-ozhidanii-v...kinofestivalya/


--------------------
- Я считаю, что каждый дает себе право думать то, что хочет, пока он не окажется в жестоком заблуждении. (Джонни Депп)
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Сообщений в этой теме
- Анна   В ожидании варваров / Waiting for the Barbarians   3.05.2019 - 16:22
- - Елена Нельсон   Цитата(Анна @ 3.05.2019 - 19:22) Опу...   4.05.2019 - 16:52
- - Анна   Пока неизвестно про прокат, над ним ещё работают.   4.05.2019 - 23:09
- - сэр Бормоглот   Круто! Надо книгу почитать.   5.05.2019 - 22:58
- - Aredel   Вау, злодей злодеич будет! Сюжет книги из В...   12.05.2019 - 13:26
- - Анна   Карточка фильма на сайте Венецианского кинофестива...   1.09.2019 - 11:32
- - Анна   Создатели о фильме и героях: https://variety.com/...   7.09.2019 - 11:00
- - Анна   Фильм может выйти на экраны России 30 июля. Ждём...   15.06.2020 - 09:16
|- - Елена Нельсон   Цитата(Анна @ 15.06.2020 - 12:16) Фи...   15.06.2020 - 10:08
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|- - Елена Нельсон   Цитата(Анна @ 15.06.2020 - 13:12) По...   16.06.2020 - 07:59
- - Анна   Аккуратная экранизация, для любителей неспешного к...   6.08.2020 - 21:35
- - Елена Нельсон   Анна, большое спасибо за отзыв! В Питере кин...   7.08.2020 - 10:00
- - Анна   На Эппл-тв вроде есть, скоро везде появится : http...   7.08.2020 - 12:37
- - Елена Нельсон   Цитата(Анна @ 7.08.2020 - 15:37) Да,...   10.08.2020 - 01:15


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